The conflict between mourning and melancholia

Conflict between facing the reality of loss on the one hand, and denying it on the other, is explored in clinical material drawn from an analysis approaching termination. The intrapsychic conflict over loss was expressed as a conflict between morality and reality, and was externalized as a conflict between patient and analyst. For the patient, giving up resentment toward the analyst became tantamount to giving up the ideal object and losing omnipotence. In the course of the analysis, his complaints became less convincing, and the conflict over loss became more conscious, allowing some moves toward mourning to take place.     

The lost cause of mourning

This paper examines the evolution of Jacques Lacan’s concept of mourning from his treatment of Hamlet in Seminar 6, “Desire and Its Interpretation,” to its transformation in the tenth Seminar on “Anxiety.” It is a transformation that occurs in tandem with Lacan’s reconception of anxiety as lack of the lack and his reshaped conception of the objet a as object/cause of desire. The key point is the way that Lacan’s renovated conception upends the common sense notion of mourning, that which assumes that suffering the death of a loved one means accommodating oneself to an absence where there was previously a presence. On the contrary, says Lacan, part of what is most deeply to be mourned is the lack in the Other around which the love relation was constructed. The paper concludes by asking to what extent Lacan’s account of mourning should be distinguished from those of both Hegel and Freud.     

The morning (mourning) minyan: Group therapeutic aspects

Group therapeutic benefits may be provided by the performance of religiously prescribed ritualistic activities in an emotionally supportive group environment. This brief paper describes the author’s experience of group therapeutic benefit from an early morning prayer meeting, particularly from the ritualistic act of Kaddish recitation in a group setting, for his own mourning experience following the death of his mother.     

The level-style of creativity distinction: comments on a recent comparison of two measures of creativity style

A recent article published in this journal made a contribution to our understanding of the relationships between two measures of creativity style. The authors interpreted their results and made a few statements that made a subtle, yet substantial link between the styles measured by the assessments and creative abilities. The purpose of this commentary is to point out a more general concern relating to keeping these constructs distinct and then using clear measures to help increase our understanding and appreciation of diverse styles of creativity and how they contribute to improving creative abilities. Even those researchers who attempt to clarify the differences can slip into using language that conflates style with level.     

The dark side of creativity: biological vulnerability and negative emotions lead to greater artistic creativity

Historical and empirical data have linked artistic creativity to depression and other affective disorders. This study examined how vulnerability to experiencing negative affect, measured with biological products, and intense negative emotions influenced artistic creativity. The authors assessed participants' baseline levels of an adrenal steroid (dehydroepiandrosterone-sulfate, or DHEAS), previously linked to depression, as a measure of affective vulnerability. They then manipulated emotional responses by randomly assigning participants to receive social rejection or social approval or to a nonsocial situation. Participants then completed artistic collages, which were later evaluated by artists. Results confirmed a person-by-situation interaction. Social rejection was associated with greater artistic creativity; however, the interaction between affective vulnerability (lower baseline DHEAS) and condition was significant, suggesting that situational triggers of negative affect were especially influential among those lower in DHEAS, which resulted in the most creative products. These data provide evidence of possible biological and social pathways to artistic creativity.